This study seeks to find international competitiveness in the tradition of Korea at the present time with the continued interest in appearance and the increasing interest in K-fashion and beauty all over the world. Thus, the study was conducted on the...
This study seeks to find international competitiveness in the tradition of Korea at the present time with the continued interest in appearance and the increasing interest in K-fashion and beauty all over the world. Thus, the study was conducted on the significance of the total coordination culture that created a sophisticated and aristocratic sense of beauty based on internationalization and Buddhism by women in Koryo Dynasty, which were formerly called Korea by foreigners.
Therefore, the purpose of this study is that first, it examines the historical and formation background of the total coordination culture in Koryo and defines its concept and category, second, after looking at the culture in women's culture of Koryeo, third, considering the aesthetic characteristics of Koryo art culture. and fourth, it studies the aesthetic type and characteristics of the culture during Koryo Dynasty. Through this, it will deeply understand the culture of Koryo women who are distinguished from other eras, and try to examine the reflected ideological system and aesthetic characteristics in Koryo.
The questionary of this study is as follows.
First, It examines the historical background of Koryo total coordination culture through the thought, society, and culture of Koryo, defines the concept and category of the culture, and search the background formed the culture.
Second, It examines the characteristic of total coordination culture in Koryo women’s social status and living culture.
Third, It compares the thinking system of the East and West, connects the thinking system of the East and Korea with Koryo’s and analyzes them, and it derives the common and consistent aesthetic characteristics of Koryo’s art and culture by inferring specific expressivity as analyzing focusing on concrete cases in the precedent study and art and culture.
Fourth, It divides the Koryo women’s coordination culture by types and analyzes the external characteristics in detail, and considers the common aesthetic feature of the culture by interpreting it comprehensively as analyzing it by aesthetic types based on derived from Koryo art and culture.
The result of the study is as follows. First, it has been revealed that the culture of women in Koryo has a close impact on the times of society, culture and thought, in the early days, it was colorful and bold under the influence of the Unified Silla Dynasty, in the meddle of period, it appeared in sophisticated and elegant form under the influence of the Song Dynasty, and in the last of Yuan intervention period, it tented some were frugal in order not to be assigned as a tributary girl. The category of the total coordination culture was defined as an embellishment culture of Koryo that adorning one’s face, hair, and clothe for the purpose of beauty. The formation backgrounds of Koryo’s total coordination culture are that with the development of aristocratic culture, the trend of luxury has spread to women in general, they tried to identify the inside an outside of beauty with the thought of the unity of soul and body, with the prosperity of Buddhism, the increase of social participation, the supply of incense, and the adornments demand led to the development of coordination products, Gisaeng system contributed to supply and develop the makeup techniques and cosmetics, and the development of foreign trade brought the distribution and development of coordination products
Second, women in Koryo had rights of individual decision-making and economic in the society that men and women were relatively equal due to Buddhism, so if one had an economic power, one showed luxurious and colorful culture without distinction between classes. The power of the total coordination culture was closely related to social status and economic conditions, and it was found to be mainly caused by noble women with high social status and Gisaengs who were close with aristocrats.
Third, Koryo had a world view of energy which was both relative and unified as in with the East and Korea differentiating from the dichotomous thinking of the West and it had the commonality of harmony, co-existence, and unity, and it showed that it had the exactness, purification, and uniformity required in the pure land faith for the Land of Happiness of the Buddhism and the distinction of symbolic expressivity in Mandala color and proportion of Esoteric Buddhism. Accordingly, the aesthetic characteristics of Koryo art and culture were shown as decorative beauty of splendor, vigor, unitary convergence, linear, and uniformity.
Fourth, the aesthetic characteristics showed commonly in the total coordination culture of Koryo women were that (1) it showed a stark color contrast and emphasis and filling of patterns based on the pure land Buddhism of precision and Esoteric Buddhism of symbolic expression with the decorative splendor, and it showed an exaggeration and grand expression in women's coordination culture as the development of heroism and aristocratism culture. (2) The beauty of unitary convergence is the beauty of freedom for the fusion and the irregularity formed by thinking of the sudden awakening-gradual cultivation and the concentration and complete wisdom as an expression of various cultural exchanges and the free and open ways of thinking of Koryo women and it achieved a new formativeness through the formativeness of compromise, combination, modification, and freedom. (3) As a beauty of uniformity, Koryo women wished a gentle and easy death according to human eurhythmia of the pure land Buddhism and they pursued the uniformity of perfect balance from proportion, balance, and symmetry based on the pure land Buddhism, and it showed the beauty of uniform repetition such as a beauty of proportion through the balance between hair style and clothes and accessories, right and left of clothes, proportion of up and down, and continuous patterns. (4) As a beauty of linear, Koryo women expressed the rhythmical beauty with the shape of line led to straight to curve line and the change of various line in the formativeness of clothes and accessories through human body’s movements by free thinking view and social participation activities.
The total coordination culture of Koryo was creating a unique beauty distinguished from other times under the common thinking of the East and Korea. Women’s free thinking that formed by the idea of Buddhism based on unity allowed them to create the total coordination of new shape and it made them developing the most precise, splendid, and decorative coordination culture in the history of Korea due to pursuing the perfect beauty through the precise, symmetry, and perfection of the ideas of the pure land and esoteric Buddhism in the surface side. It hopes that the total coordination culture of Koryo women can be recognized as an art containing ideological aesthetics and philosophy as well as a formative beauty through this study, and it expects that the rediscovery of Korean fashion and beauty through the total coordination culture of Koryo women can be an significant base material for the research and study of global K-fashion and beauty design as one of various culture contents of K-Culture.